Chess, Oedipus, and the Mater Dolorosa1

The psycho-analytic study of play and games has been particularly rewarding, but no game is so full of possibilities for such study as that of chess. Chess is the royal game for many reasons. It crystallizes within its elaborate structure the family romance, is replete with symbolism, and has rich potentialities for granting satisfactions and for sublimation of drives. Not without reason is it the one game that, since its invention around A.D. 600, has been played in most of the world, has captivated the imagination and interest of millions, and has been the source of great sorrows and great pleasures.

My introduction has two purposes. First, it indicates the numerous facets inherent in a study of chess: the fascination and the extent of the addiction to the game; the psychological factors involved in its historical development; its social and therapeutic value; its legal involvements; its relation to love and aggression; the problem of genius in chess; the characterological problem of its players and their style of play; and ego functions as manifested in play, especially the distinctions between the psychological meanings of the game, its pieces and rules, and the psychology of the players. My intention is to develop these themes more extensively in later essays and to stimulate the interest of others in these problems. Secondly, this exposition is also meant to convey some of the quality and flavour of the game, especially to non-players, or to those who have never been addicted to or fascinated by chess, so that they may be prepared for the complexities of the legends.

Throughout the ages chess has been praised in poetry, prose, painting, and even music, as witness a few testimonials from devotees. 'Chess is the art of the intellect' (42).3 'Chess is so ancient that by that distinction alone it seems taken beyond the category of games altogether; and it has been said that it probably would have perished long ago if it had not bee